National Archaeological Museum of Athens, what a nasty thing to say...

I went back to the National Archaeological Museum on Saturday 13 July. The kids love it and we went to all sections open to the public (apart from the bronze collection), twice.

I was trying to see the museum through the eyes of the tourists writing for the Virtual Tourist website, and especially as regards the staff. The staff in Greek museums are notoriously awful, but this maxim is more rooted in anecdotal evidence than any empirical data. I have my own tale of thoughtful and service-oriented staff (years ago, I managed to have the pot rooms opened for a private viewing of the Pitsa tablets just by asking nicely), so I am not going to say that they are all bad.

Some comments from virtual tourist: Some of these are two-star reviews, some three-star reviews.


Review source: click for full Tripadvisor review
Paid 21 euros for three people. At 2.50pm we were rudely shooed out the door. The museum closed at 3pm
My comment: Aside from the fact that most get kicked out a full 20 minutes sooner, I just want to focus on the “rudely” point – we will be reading this sort of thing a lot below.

Review source: click for full Tripadvisor review
The entire staff is VERY unpleasant: no adjustment, no friendliness (no hello or goodbye, no smile, unable to point out the toilet ...) I am very passionate about the history of art and I visited many museums in Europe and I've never seen that anywhere else! People expected to monitor different rooms are dressed like they’re going to the beach, they stand no matter how (sometimes sprawled on their seats) they make phonecalls (!) laugh hard (!) mock visitors (!) have long conversations making fun of the visitors who are minding their own business, but what annoyed me the most is that two male guards followed me 2 or 3 rooms bestowing lecherous glances and smirks on me (I'm a 27 year old woman and there were few visitors).
My comment: The review is actually titled, “Superb collection / horrible staff!” Let’s add horrible to rude (and probably ought to add ‘creepy’ too). Perhaps over the top, but smoke/fire… Also let’s hang on to the dressed for the beach description (we’ll see some similar stuff below).

Review source: click for full Tripadvisor review
Unfortunately the exhibits are poorly presented and the staff look like they've just walked in from the street. They're shocking.
My comment: Ho hum. Let’s add “shocking” then. The funny thing is, that most of the staff do actually look like they’ve been dragged in off the street. Wouldn’t call it shocking, but it’s not a good impression.

Review source: click for full Tripadvisor review
This museum, though it had great substance in it, was in the ghetto and I was scared to leave my bag in the front. No uniforms for the staff which look like out of work volunteers.
My comment: Aha – so what the review above does not say is that they look like they’ve come of the street and this street is ghetto street (I have not linked to all the reviews talking about the drug dealers / users in the streets around the museum, but they are there – both the reviews and the druggies).

Review source: click for full Tripadvisor review
However, the most famous [galleries, with] the sculptures, were closed for some reason. Looking at the map of the museum at the entrance, it seemed to be the bulk of the museum. No idea why they were closed off. I asked one employee and all she said was "It's closed exhibition".
My comment: OK so, moving on now from how they look, dress and stalk, let’s have a look at how they deal with visitors’ questions. To the question “why is this closed” the guard answers, “it’s closed”. Genius.

Review source: click for full Tripadvisor review
In addition, the staff were extremely irritating. Whether they were chatting hard in groups or standing over your head to see if you were doing something wrong. In some rooms where you could photograph the objects, you may not take pictures of descriptions, or your fellow travelers. Bizarre. The guards follow you about in an extremely annoying way. Very uncomfortable.
My comment: OK – so photography in museums aside, the guards were chatting away in groups or intimidating the visitors. More on this later.

Review source: click for full Tripadvisor review
I visited the National Museum and have not seen something like this in my life and I have seen many sites and museums: poor education and lack of respect for the tourists from the employees of the Museum. They are most unfriendly people. They don’t know how to say things nicely, but do so screaming.
My comment: Unfriendly, lack of respect for the tourist. Shouting at the tourist... not much I can say about this.

Review source: click for full Tripadvisor review
I feel like my experience was ruined because of a grumpy old Greek man that yelled at us for taking pictures with the sculptures. Even though photography is allowed, he told us that if we wanted to pose with the artwork, we should just go to a photo studio. This museum needs to train it's employees on how to treat their guests.
My comment: Couldn’t have put it better myself. I am not commenting on the ‘unjust law’, but on the way it is enforced.

Review source: click for full Tripadvisor review
What we did not know was it only opened till 3pm, and they started to kick you out 20 min before, the staff also chatted too loud, a leisurely operated museum.
My comment: Leisurely, unless you dare to take a photo... then you get the screaming and the shouting.

Review source: click for full Tripadvisor review
I agree with my fellow-travellers below that the staff is terrible. Did not agree to take my coat in the cloakroom, were rude etc.
My comment: Back to “rude”

Review source: click for full Tripadvisor review
I travelled from Ireland to come and research this stunning collection. Breathtaking but two tips, go first thing at 9.30 to avoid the crowds, and expect the staff, who almost outnumber visitors, to have either an arrogant or apathetic attitude - 80% horrid staff. 
My comment: Title of the review is “Excellent museum despite the arrogant staff” – are we beginning to see a pattern here?

Review source: click for full Tripadvisor review
The staff in the rooms seem to be rather too full of their own self importance and indeed one of them told my husband to delete a picture he had taken of our daughter beside one of the exhibits as she was posing like the statue. He told my husband she could have her picture taken with it if she stood with her arms by her side!
My comment: Again the photography rule, but “full of their own self-importance” says a lot, no?



So, rounding all this up, I would like to add my own three tales with guards, totally anecdotally - keeping in mind that many are great and actually interested in their work and don’t dress like they’ve been dragged in off the street.

In the sculpture rooms, just before the horse and jockey, the guard was sat on a bench for the best part of two hours chatting with a woman who could have been his sister or mother (both the guard and his interlocutor were both at that age where either could be likely). They both looked dishevelled and he took no interest in his room while chatting. This reminded me of the dragged off the street comments.

In the second room with the archaic sculpture, I noticed one of the lights was not working. I pointed this out to the guard and we had a nice surreal discussion. It went a little like this:

- that light seems to be not working
(I was pointing at this light):

One of these kids is doing his own thing...

- you’ll have to ask at the information desk about that
- err, no. The light is not working, I don’t need to ask about it, look (I point)
- if it is not intended to be off, the technical department will sort it out
- does it look like it is meant to be off?
(the guard was in a room where the exhibits looked like this):

Kore in the dark, well-lit kouros

- the technical department is responsible for lighting
- and how will they find out if no one tells them?


As an experiment, I am not going to tell anyone just to see when (if ever) it will be fixed.

[edit: on Saturday 7 September the blown bulb had been fixed - so something is working…]

My final anecdotal piece of the day involves a game of ping-pong played by the guards in the vase room. I was looking for the Dipylon inscription (only the oldest evidence for the Greek alphabet currently in Greece – so not really an obscure thing – link to Greek wiki, link to English wiki). I told them I was looking for the pot with the really old inscription, and one guard bounced me into the next room, then the other bounced me back into the first room, the first guard displaying total ignorance of vase shapes in the process.

Disappointing, though my fault in part for not recalling that it's called the Dipylon Oenochoe. It would be interesting to try the experiment again using the actual name of the thing. Anyone want to put money down on whether they will take me to it?

So – what is the MiniCult going to do about the appalling state of its human resources? Sweet bugger-all, no doubt.


Oh, and a cute video from the visit:

Chania Archaeological Museum, Crete, September 2011

The Archaeological Museum in Chania was founded in 1962, after the building it is in had served as a store house, a cinema and a mosque (dedicated to Yussuf Pasha) during various times in the island's history. The building was originally built as the church of St. Francis of the Franciscan monastery most likely established in the C13th and displays rare Mediterranean Gothic features.

We visited in September 2011, on the back of the 14th National Speleological Meeting… excerpts from my diary follow:

After so many years, I get to go to the Chania Museum. The visit was made in far from ideal conditions – not enough time and both girls with us. The museum itself is built / housed in the old Franciscan church a the centre of an old Franciscan monastery dating to the 13th Century, if I am not mistaken.

Unfortunately, the guards were not so well informed as to what is original and what is restoration, which is a pity as I am not sure I have seen better gothic ribbed vaulting in Greece.

General view of the nave / main hall

Gothic arches in the museum

Ablution fountain in the garden

The tourists from Northern Europe have no idea of the rarity or peculiarity of this and indeed of all gothic features. The museum itself has finds from all over western Crete, famously from the palace at Kydonia itself and from various other locations. It also houses the Mitsotakis collection, which is basically huge and spans all eras of Greek history. Especially notable is a bronze bowl, bearing an inscription in Linear A – apparently the only surviving bronze object to have been thus inscribed. The LED lights positioned to highlight the inscription were not working, so I did not actually see it well enough to photograph.

The bronze bowl, suffering from the LED malfunction

Bronze adorants from the Mitsotakis collection

Unfortunately, beyond the Mitsotakis collection, very little else is published and therefore very little else is permitted to be photographed. The bull offerings from a rural sanctuary in the Chania prefecture are actually unpublished and not allowed to be photographed, and yet it is in such small letters that unless the guard is actually next to you it is very difficult to know that you have gone astray. 

oops!

For me, and no doubt for many Minoan fans, the highlight of the museum is on the left about a third of the way in – a sealing impression, in clay, showing the so called Lord of Kydonia – an amazingly crafted scene, which may indeed represent the town of Chania, some three and a half thousand years ago…

The Lord of Kydonia

 and explanation:

Tripolis Archaeological Museum, September 2011

The archaeological museum of Tripolis is housed in a wonderful neo-classical building with a wonderfully damp and drippy basement, which is a pity as the wall-mounted exhibits have suffered as a result.

Probably in an effort to avoid photographs of exploding drippy basement wall plaster, or else because some researcher has not been properly arsed to publish his or her material, photography in the museum is banned and as a result the guards, two older ladies not so well informed about what they are watching over but certainly well enough informed of the ban will follow and hound any prospective photographer ensuring that this ban of dubious legality is not circumvented. I mention dubious legality as according to law it should be possible to photograph the exhibits free of charge for personal use in the museums of Greece. See my posts on Naxos and the New Acropolis Museum...

Anyway – so there we were in September last year on a great Peloponnesian north/south roadtrip with an overnight in Tripolis. The museum was just across the street from the hotel, and I took Ariadne and went.

Ariadne enjoys the garden of the Tripolis museum…
Once you get over the bad state of the museum itself and the museological side of things, there are a few gems housed within. On the left on the ground floor, the finds from the LHIIIC Palaiochora chamber cemetery, pretty much exclusively ceramic but certainly worth a visit. In the basement, the sculptures from the villa of Heroides Atticus are also very much worth a visit, despite whatever feelings one may have about Roman-era 'art'. Most of the rest of the museum actually reinforces whatever feelings you may have of Roman-era 'art'. Well, it did for me…

For the rest of the road trip, click:

2011 Peloponnesian road trip

Isthmia museum, July 2011

The museum at Isthmia is really very much off the beaten track and this is a pity as it houses some amazing finds in materials not normally encountered when making any sort of must-see tour of the Peloponnese or indeed mainland Greece. It is modern, well laid out and with plenty of well-written texts.

A view of the main hall of the Isthmia museum

The religious site at Isthmia was of course dedicated to Posidon, the god of the sea and not without some reason. The site straddles and controls the paths from the south to the isthmus and along with Corinth itself two and a half hours to the west it effectively controls all access to the Peloponnese. The southern edge of the isthmus is just 15 minutes’ walk away while the harbour of Kenchreae is one hour to the south.

Excavations were conducted from 1952 onwards. It is one of the locations of the four great Panhellenic Games (Delphi, excavated by the French and Olympia by the Germans were both excavated before the end of the 19th Century, Nemea and Isthmia were both excavated in the last half of the 20th Century by the American School). The finds of the excavations from the fifties and subsequent re-examinations form the main part of the museum’s exhibition, although the finds from sites such as Kenchreae and Almyrae are no less interesting and the finds from Kenchreae are what give the museum its unique nature in terms of the materials on show.

Terracotta finds originally from the archaic temple of Poseidon, dated to the 7th CBC and found in the Large Circular Pit which lies to the west of the Palaimonion and south of the Temple precinct.

This Large Circular Pit contained many other finds. The pit was used to bury fragmentary and broken terracotta and stone artefacts and serves as a sort of Perserschutt pit for Isthmia. One of the larger finds is the Poros Kouros, below.

Fragmentary statue in the shape of a Kouros, youth

The kouros part was found at Isthmia in October 1959 by members of the University of Chicago digging at the site under the auspices of the American School of Classical Studies. The piece was found at a depth of 18.70 m. in the Large Circular Pit.

The fragmentary nature of the find and the fact that the pit contained all sorts of finds spanning many centuries has allowed classical scholars free reign to try to date the statue on stylistic grounds alone. This, coupled with the relative paucity of Kouros finds in the Peloponnese, the soft material used (and the constraints this imposes on diagnostic indicators) makes it an interesting case.

Next up, back to the Bronze Age:

Mycenaean Psi-figurines

The ubiquity of the Psi and Phi figurines in Late Helladic contexts is one of those reassuring things. We are so used to them that that if there were none, you would be curious to know why. Other people do a much better job of discussing and describing these so I will not repeat what better researchers have already said. The specific figurines are part of the exhibition focusing on the chamber-tomb Cemetery of Almyri, near Isthmia. More precisely, Kato Almyri, Rachi Bechri. There are twenty odd tombs excavated at this site, yielding some pretty standard looking ceramics and the psi and phi figurines. The floor plans of the tombs look interesting enough and maybe I’ll make a trip sometime in the future – although given how long it has been since I first tried to get into this museum and how many years passed until I made it there when it was open to the public, I doubt such a visit would be any time soon.

Moving on to Kenchreae, the star of the show…

Kenchreae is one of the harbours around the Isthmus of Corinth. For some it is famous for the haircut of St. Paul (dude, srsly?), for others it is known for the amazing underwater excavations of the American school in the sixties. The reason for underwater excavations is the earthquake which struck in 375 and caused the land to sink a few feet, thereby burying buildings in the water of the harbour. How’s that for a funky terminus ante quem? Underwater excavations usually means that we get a whole bunch of stuff turning up which would normally have rotted away. When it sits underwater, there is a great chance that a site’s perishable materials will be buried in anoxic mud and will not rot, but remain for the archaeologist to find. And so we have it… the so called temple of Isis, looking remarkably like a village church in floorplan, revealed a whole lot of funky finds in materials we don’t normally encounter.

Wooden furniture find from the so-called Temple of Isis

The furniture is a great discovery as not only will it allow the interested visitor to have a good look at ancient joinery, but also to see the ivory inlays and sculpted decorations which would have adorned the furniture itself. The piece above shows some very finely wrought, presumably burned decoration in the wood itself.

Ivory plaques for decoration of wooden furniture

Speaking of inlays and decorative bits, the ivories above depict cupids doing everyday tasks. To me the worksmanship and subject look very much like later medieval ivories with almost identical theme. This is the sort of thing that if I had seen it without the context, I would have dated totally wrong... as such it is very much good fun.

One final but uber-funky wooden find from the so-called Temple of Isis is these wooden doors:

Wooden Doors off the so called Temple of Isis, Kenchreae

These are by far the largest of the wooden finds currently on show at the Isthmia museum. To me, they look not very much different to provincial or naïve doormaking of far more recent times. We don’t often get a lot of wood surviving in Greece so this is all good stuff.

Another great find from the so-called Temple of Isis were the packing crates with the glass panels depicting scenes from a seaside city... These were stacked in groups around the walls of the main area of the temple, presumably either for installation or for transhipment elsewhere and most likely originated from an Alexandrian workshop. They date to the period immediately before the earthquake that led to their burial and subsequent preservation.

Corner of one of the plates

There were originally about 120 glass plates which would have covered an area of about 150sq.m. The plates were either completely decorative, depicted life-sized figures of priests or philosophers or were part of a cityscape panorama showing a seaside town. The whole work is an amazing look at an art form for which we have very little (if any) other information and an impressive decorative programme spanning many meters of wall space.

Scenes from the seaside town panoramas

The panels were stacked face to face, and the faces were the parts most susceptible to the corrosion of the sea, frequently resulting in the fusing of the two panels face to face. Most of the finds on display are actually the back side, rather than the front side which would have been on show, and this should be kept in mind. Because of the difficulties of desalination and the fragile nature of the finds, they are now stored in climate controlled rooms in the museum basement.

To sum up – if you have not been to the Isthmia museum – definitely make a point of taking a three minute detour and go!

Palamari, an Early Bronze Age site on Skyros

I chanced to have had the opportunity to visit Palamari whle chasing bats with Dr. G in June 2011 – more about which I hope to write soon. Of my impressions at the time, my diary records only the following:

"The site of Palamari is well worth visiting. It’s like a Kastri on Syros only on a lower hill with less clambering. Brilliant EBA fortification, way more impressive than Lerna in its size and scope. Glad to have made the detour."

View over the excavations

Verbose, this description is not. And I will not be any more verbose now, fourteen months on.

There is an onsite “museum” with a pretty funky model of the excavated site and plenty of text with images on boards covering stuff like the changing environment from the EBII through the MBA as evidenced by faunal remains and the links with other civilisations as evidenced in the ceramic types found on site.

Model of the excavations

The ceramic types cover Trojan depas amphikupella through to Cycladic beaked jugs and Mainland Minyan kantharoi. Not surprising really, given the location of the island and the site, but reassuring to see it.

I stand by my “worth a visit” conclusion of 14 months ago, even for the uninitiated for whom this sort of thing isn’t their bag:

Open e-mail to the New Acropolis Museum

" Is the museum still implementing its no-photography policy? If so, how is it justified, given that the archaeological law (Ν. 3028/2003) in conjunction with the joint decision of the Ministers of the Economy and Culture of 28 December 2011 (126463, Article 1.1) permits free photography in museums when carried out with non-professional equipment?

What is the procedure for an interested amateur photographer to be granted permission to take photographs inside the museum for personal / educational purposes? Many thanks for your time. "

So - let's see what they reply.

Kerameikos cemetery and museum

On the Sunday after Easter, I took A to the Kerameikos. I wanted to have another look at the sub-mycenaean and protogeometric pots after my visit to Nauplio archaeological museum a week before and the Easter holidays seemed to give themselves to this, what with the gentle beginnings of spring coming on. It was going to be quite an adventure. I had not yet been left alone in charge of A out of doors for quite so many hours, and we had public transport and dangerous roads to deal with (and a lot more besides).

The metro station called Kerameikos (despite what the name may suggest) is not the closest stop to the site and museum. The closest is actually the Thiseio stop, but this does not have the escalators to help with arriving and leaving with a pram. Do not make the same mistake I made and expect anyone in the vicinity of the metro station to know how to go to the homonymous archaeological site and museum from the metro. Do not even expect them to know that the stop they are standing in is named after the old cemetery which used to stand in the potter's quarter. That's the sort of mistake that idiots with over-idealized images of their own countries make.

Finally getting oriented with the GPS maps on my swanky Nokia 5800 (which them promptly proceded to die on me) we set off up Pireos towards the entrance of the Kerameikos. At some point in between death-defying maneuvers necessitated by the lack of pavement on some parts of the road, I realized that A. was missing a sock. She had been playing with them, and evidently she'd been playing with the sock formerly on her right foot a little too much. We proceeded barefoot for the rest of the journey. It was a Sunday, early afternoon. The fleasiest part of the flea market is set up just outside the entrance to the site and with it a plethora of 'used' goods, prospective buyers and the sort of people who trade in used goods of uncertain provenance. Great.

Once we found the entrance, behind a stack (literally) of used stereos and speaker systems, the museum and surprisingly the site itself are quite pram-friendly.

The museum is essentially a square building with an atrium-like light well in the centre. Gone are the old-school wooden cases from years ago (that you can still see in museums like Thera and Naxos). Everything is new and shiny, including the patches of damp causing the paint to bubble and crumble in some places.

One side of the square houses the sculpture - two kouroi, a number of sphinxes and some grave stele, together with a boundary marker with interesting epigraphy. There are also some classical family grave markers of the overly classical style which is too much for me. The exhibition passes into the Atrium where the large marble bull memorial draws all the attention and smaller low relief works sit around the edges overshadowed by the bull. From there, we start the history of Athenian pottery…

The first leg covers the sub-mycenaean, protogeometric and geometric eras.

Next we have the first representational ceramics, going through to the mature black and red figure eras.

The final leg of the square has more classical and too much hellenistic pottery. Labelling is in the most rudimentary name rank and serial number style which characterises so many Greek museums, which is a pity as there is a lot of potential to explain aspects of the ancient world in this museum.

Pieces I particularly enjoyed are:


Grave marker - bearded boxer: The piece was found re-incorporated into the Themistoclean walls of Athens as a spolion. It is remarkable for being a quite individualistic portrayal of a presumably recognisable person at a time when portraiture was not really developed.



Boundary marker, showing the boundary of the road for Eleusis (a nearby town with a very important sanctuary, the road for which passes through the cemetery of the Kerameikos): ΗΟΡΟΣ ΤΕΣ ΟΔΟ[Υ] ΤΕΣ ΕΛΕΥΣΙΝΑΔΣΙ
It is interesting to see the H being used as a rough breathing on the word Horos, but not on Hodos and also interesting to see the E used where we would expect an H. Guys who dig epigraphy could probably date it on these grounds alone to the nearest five years, but this kinda thing ain't my bag, baby.



It's archaic. I like it for the hair, for the hands and for the smile, although I did not make a note, so I cannot write too much about this.



The cinerary urn from tomb 18/I of the Kerameikos cemetery in Athens dates from the 10th century BC and aside from the wavy lines, sports one of the earliest depictions of horses in Attic vase painting.



From a tomb dating between 750 and 700 BC. The depiction of the warrior is pretty standard - helmet plume, beard, twin spears and swords together with a sort of "boeotian" shield. I like this sherd because you can clearly see the individual brushstrokes used to make up the warrior and at the same time you have a nice look into a cross section of the fabric.



This vase dates from the first quarter of the eighth century BC and depicts two men taming a horse. It is one of the earliest depictions of the human form in Attic vase painting.



From a tomb dating between 740 and 730 BC. The tripod shape is one associated with ritual use, burnt offerings or funerary meals. The decoration is split into two bands - a frieze along the top showing standard geometric-era warriors and little vignetted warriors wrestling lions in the legs. The depiction of the warrior is pretty standard - helmet plume, beard, twin spears and swords together with a sort of "boeotian" shield, alternating with the standard round shield. The lion in the lower register is depicted as a ferocious beast, but clearly not one with which the artist is familiar.

More pots can be viewed on Flickr here: A visit to the Kerameikos in April 2010

We then went outside with A. for a photograph together in the Kerameikos proper.

Reopened archaeological museum in Nafplio / Nauplion / Nauplio

On one edge of Constitution Square, opposite the old mosque which now serves as a cinema, sit the Venetian-era barracks of the town's military garrison. This building now houses the offices of the local ephorate of antiquities and the town's archaeological museum. I am particularly fond of the ephorate here as they issued me my very first free-entry card to the antiquities of Greece and did so in one day! It was not until many years later that I realized how lucky I was to get the card issued so fast.

External view of the Museum of Nafplio on Constitution Square.

Following a lengthy refurbishment which seemed to last most of the present decade and which saw little seismic stickers put all over the building and the bulk of the Mycenaean finds go to the new museum at Mycenae, the Nafplio Archaeological Museum has been re-opened with a new layout and a refreshingly decent set of texts accompanying the finds. A lot of stuff has come out of storage, not least the Francthi child burial (more about that later) so the visit I made in April this year felt in part like a visit to old friends, and in part like a new museum altogether.

The museum houses finds from many of the sites of the Argolid, including Tiryns, Asine, Berbati, Francthi, Dendra / Midea, Kazarma, Nauplion itself and probably more that I do not recall. It used to be the best collection of Mainland Bronze Age stuff in Greece after the National Archaeological Museum in Athens, although now I would think the title of second best has to go to the Mycenae museum itself.

The museum is organized on the first and second floor of the building as before, with the first floor dedicated to the prehistoric periods and the second to the Iron Age onwards. The finds are exhibited either according to findspot / period or according to type - meaning that we have all the Franchthi finds in one corner, and all of the Dendra finds in another, but at the same time, the MH vessels are placed separately from the figurines, which are separate again from a bunch of sherds with imprints on their bases showing either mats or leaves.

The truth is that visiting with A in the pram was not 100% practical (despite the AMEA / wheelchair lift which we preferred not to use) so we did not spend too much time on the top floor which in any case has marginal interest.

The Bronze Age floor or more accurately Neolithic and Helladic floor was really quite fun. First in on the left, there are the finds from the Kazarma tholos including some nice palatial style jars, together with a good photograph of the state of the tholos at present (only the back wall is standing). Moving round the room clockwise, we have the cemetery of Dendra along the wall, joined by Asine later on and the Dendra panoply in the middle of this part of the room. The panoply is displayed nicely along with other bronze finds from the tomb allowing the visitor to build a good sense of what goes with what and what finds are from which tombs. The Dendra finds are displayed next to a scale model showing the placement of each tomb in the hillside. This provides another valuable link to the findspot which enhances the visitor's understanding of the finds as part of a functional whole rather than as individual pieces of art each independent of those around it.

Kazarma: display of palatial style vases together with other grave goods.

Dendra: Model of the cemetery showing the relative locations of the Tholos Tomb, the Cuirass tomb and the other Chamber tombs.

Dendra: Nice schematic LH murex shell on grave goods .

Dendra: the finds from the Cuirass tomb, all together in one case.

Further down we pass the Asine finds, with some good diagrams of the tombs as excavated and this is followed by some cases containing only figurines, whether wheelmade or hand made from a number of different locations and of different sizes, all presented together. These include the famous Lord of Asine.

Asine: sketches showing the findspots and context of the finds together with decent texts.

Asine: the "poor" man's Vapheio cup! ceramic Vapheio cup showing a goat rather than the bull one would expect...

Various sources: various figurines whether wheel-made or coiled, all together in one case. The so called Lord of Asine is the solitary head to the right of the image.

Moving on, there are finds from the MH (including some stirrup jars with simple painted motifs) and part of the plaster floor of the megaron at Tiryns showing two dolphins, heraldically opposed.

Various: MH era ceramics, including a coarse-ware bowl with carbonised figs.

Tiryns: painted decoration from the floor of the throne room of the megaron.

Moving on clockwise, we enter the MH period properly and this is represented by burial goods from Berbati and elsewhere. The finds reproduced in the burial of the MH with articulated skeleton are in stark contrast to the finds on show from the LH graves of Dendra.

MH burial reproduction: A is surprised at the austere nature of the grave goods.

The EH is represented by impressed hearths and pottery from Tiryns and Berbati, and the room finally closes with the NL just before the door leading us to feel that perhaps we should have gone anti-clockwise rather than clockwise round the room! Apart from the Urfirnis pot which used to be the highlight of the Franchthi section in the old museum, there are now a great number of small finds on display along with one of the famous child burials of NL Franchthi - again articulated with the grave goods in place in the display. The Franchthi section also has photographs and drawings of the cave itself with much information.

EH Pot bases: Impressions with plaster "positives", with some EH sauceboats in the background (sauceboats are the archetypal EHII type shape).

EH hearth: one of a number of such ceramic hearths decorated with relief patterns. This one is from Tiryns.

EH hearth: one of a number of such ceramic hearths decorated with relief patterns. This one is from Berbati (I think)...

Franchthi cave: Decent text introducing the visitor to the complexities of the NL.

Franchthi cave: Urfirnis ware - the best of the best of NL ceramics.

Franchthi cave: infant burial on display.

Franchthi cave: repaired ceramic bowl - shows the value of ceramics at the very beginning of their use.

The texts are well thought-out and the layout of the finds (especially the articulated skeletons) adds much to the visitors' understanding.

As I said - this is one of my fave museums anyway, but I think I have to give it a thumbs-up for the way it has been refurbished, re-planned and re-opened. Well done Δ ΕΠΚΑ!

Second floor: ceramic masks - an opportunity for some interaction with A.